For a movie about the world’s fastest superhero, The Flash sure did take a long time to make. At this point, anticipation around the film seems more focused on what the hell this movie is and how it fits into the ever-changing DC picture rather than its quality. As such, the movie loomed large over CinemaCon, the first audience to see an unfinished (though mostly finished) version. The rush of the 3,000 CinemaCon goers to get into the packed screening beat any of the industry panels thus far. Hard to believe, people would rather see a movie than talk about them. Thankfully, the movie is pretty great.
Now, we can’t get into specifics regarding the plot, for that would ruin the fun and surprises (of which there are many, including some that caused nearby audience members to yell “What the fuck!” more than once). However, we can say that the movie cleans up the last decade of DC output, packaging the films in a way that treats those movies with respect while allowing the new DC crew to phase away from them. It’s a very clever film that attacks the genre with confidence and enthusiasm.
Slotting into the same convention slot that Top Gun Maverick used last year to launch its remarkable run, The Flash hopes to leave Las Vegas with the same buzz. The crowd of theater owners, publicists, executives, and the press in attendance is all keenly aware of how well this movie has to do to turn a profit. The Flash can’t be another Black Adam or Shazam: Fury Of The Gods-sized blemish on the balance sheet James Gunn and Peter Safran inherited. We can’t predict the future, but it still doesn’t seem likely The Flash will be as beloved as Top Gun, if only because there are some people you simply cannot get in the theater for superhero movies anymore.
But the Flash is a much more important character than Black Adam or Shazam. For one thing, people know who the Flash is—even the exclusively adult audience of CinemaCon. Walking near any slot machine outside the theater, one can hear people in expensive suits and purple badges talking about interlocking multiverses. It’s staggering how many bizarre and obtuse plot mechanics Marvel has pushed into the public discourse in the past decade.
Nevertheless, there was a smattering of applause, laughter, and the aforementioned swearing during the screening. Afterward, the words “fantastic,” “great,” and “I was iffy on the trailer, but this was really surprising” pinged around the tight escalator tunnels. While there was some inevitable explanation of lore that has nothing to do with comic books, the movie seemed to please skeptical fans and theater owners alike.
Early reactions are even more effusive than we are, which comes with the territory of these preview screenings. All that electricity in the air comes out on Twitter shortly after the credits roll (though there were no credits on this early cut—so we, truthfully, do not know if there will be a post-credit scene).
It’s also difficult to talk about The Flash without mentioning its very troubled star, Ezra Miller, who has been accused of grooming minors, assault, burglary, and a litany of other crimes. Miller has since apologized and explained their behavior as an extended period of “intense crisis” stemming from “complex mental health issues.” From the outsized nature of the crimes, Miller’s issues seemingly delayed the film long enough that there’s a whole new DC universe on the way. Yet, the movie is strangely prophetic in that way, serving as a perfect bridge between these collapsing franchises. However, that’s a For Our Consideration on another day. Until then, fans can rest assured that their new DCEU is off to a good start.
The Flash speeds into theaters on June 16.
